Brush pen and Copic marker on smooth bristol paper, 11 x 14 inches, 2016.
One of the cover images.
Brush pen and Copic marker on smooth bristol paper, 11 x 14 inches, 2016.
Cover page. Let's get this party started, right Gauguin? Right?!
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
If you don't know the names Gauguin and van Gogh already, just think "bored, arrogant French guy" and "nervous, agitated Dutch guy".
And then picture those two characters in the same room.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
The story thus far:
Vincent: grew up in the Netherlands, wandered around Europe for a bit trying different occupations, failed at everything so HEY why don't I become a painter?, but oh wait, painting is really hard, leaves the Netherlands and surprises his younger brother Theo, picks up some bad habits and fun friends in Paris, then forgoes near alcoholism for a transition to the fresh South of France.
Gauguin: born in Paris, moved to Peru, moved back to France, tried his hand at real life unsuccessfully, mistakenly got married and had some kids, one days says To hell with the real world, I'm going to paint, but oh wait, painting is really hard, goes broke, leaves for the Martinique but accidentally comes back and still hates Europe, then runs away to the artists' colony of Pont-Aven in Brittany.
Cue hearts and fanfare! Two wonderful people are going to be such splendid friends.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
On May 28, 1888, van Gogh formally invited Paul Gauguin, whom he revered like the sun of his own little world, to join him in Arles at his yellow house. He hoped to start a "Studio of the South" where all artists would eventually flock to, and where they could share company, expenses, and inspirations.
But Paul Gauguin is always fashionably late.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
A self-portrait exchange, because that's a thing.
Whilst Gauguin was biding his time and hoping for a bit of monetary incentive to join Vincent in Arles, the three friends (which includes the enigmatic, fellow artist Emile Bernard) exchanged self-portraits.
Gauguin likes to think he's Jean Valjean from Les Miserables, because that's how he feels, and the world can go to hell for all he cares.
Bernard is just trying to survive the heavy, calculating gaze of his current roommate Gauguin.
And Vincent just wants people to think he's a cool guy.
How much did Theo have to bribe you to go to Arles, Gauguin?
After five months of negotiation, poor brother Theo finally convinces Gauguin to go by emptying his pockets and producing a substantially attractive amount of money worthy of caravanning Gauguin to the South of France.
Vincent is ecstatic upon his arrival, followed by enraged, frantic, caring, and with an undertone of strong agitation.
Gauguin wonders if he should have asked for more money.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
Eager to impress Gauguin, Vincent thought he'd show off his refined skills out in his element: the beautiful out of doors. But Gauguin doesn't have the time for Vincent's GOGOGOGO reality, because he's still dreaming.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
Didn't Gauguin know when he signed up for the Yellow House he was also asking for membership into an art commune? Welcome back to kindergarten, Gauguin. Vincent uses a lot of paint, so you might want to start hiding your stash.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
But what about the swirlies? And the texture? And I can't fingerpaint either? Maybe Vincent isn't cut out to be a painter if it requires such restraint. He doesn't know how Gauguin does it, painting so flat and thin. How does he hold himself back when there's so much pretty paint and color around?
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
Imagination is a scary, scary thing. Vincent doesn't want to go there again.
Brush pen and Copic marker on smooth bristol paper, 11 x 14 inches, 2016.
Would you have guessed that between producing about a painting a day, and keeping regular letter correspondence with his brother, Theo, Vincent would have time to read and read? Why does Vincent care so much, Gauguin wonders. He's so easily distracted.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
Although Vincent is so famous for his aptitude in capturing nature and the great outdoors, it was painting portraits that he so wanted to do. And one day his good friend Joseph Rodin, the postman, stops by with his wife, and voila, he has a sitter. It's too bad that painting with people isn't as easy as painting with sunflowers.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
Like fellow post-impressionist friend Emile Bernard, Vincent also struggled with painting Gauguin's portrait. It's not that he'a a mean guy really, but there's something about that...face that sends fear down his spine.
So instead, Vincent painted complimentary chair portraits commemorating their time together.
Brush pen on smooth bristol paper, 11 x 14 inches, 2016.
Dear Theo, please play father and set these two children straight. Are you going to do it, Theo? Hurry up, Theo. Theo. Theo. Theo. Theo...
On Christmas day, after weeks of buildup, Gauguin and Vincent finally have their fallout, probably in violence, according to most sources. And on the same day Gauguin leaves him, Vincent hears that his brother Theo and his wife are expecting their first child.
Anxiety, fear, pain, loneliness, and then comes the famous van Gogh event of cutting off a part of his ear.
And that's the end of the Yellow House and the dream of a "Studio in the South".
Brush pen and Copic marker on smooth bristol paper, 11 x 14 inches, 2016.